Projected Interior | Research

Projected Interior

Amanda Sauer INTD 5001 | Meghan Minton 2021

ta b l e o f c o nt e nts concept

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literature review

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precedents

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method

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material and surface

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user and site

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bibliography

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concept

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Question

How can one make and inhabit a space comprised of light?

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Figure 2 Atmosphere

Figure 1 Materiality & Subject

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original concept collages

How can one make and inhabit a space comprised of light? Projection is a tool used by many installation artists and production designers to create surreal and engulfing experiences for users to view. However, that’s typically where the interaction ends with the user: observation. The concept of projection as an interior is one that seems to be quite unfulfilled. Through the studies and research compiled in this book, one will see how light and projection can come together to create a usable space designed for the person.

This study began with initially looking at the concepts of film and light as a medium for a project.

How the perception of space changes when viewed versus inhabited? The medium of film can alter the way one experiences a space as it’s only viewed through the screen whereas people traditionally experience interior and space through inhabiting reality. All the senses come together to process the surrounding elements. However, with film, the primary sense is sight. One must process atmospheric conditions such as light, shadow, color, scale, composition through the lens of the camera rather than on their skin. Those effects are then heightened to attempt a similar perception to that of experiencing reality. The sensation of projection can relate similarly. However, projection of light is somehow both 2D and 3D. The light and image projected creates a 2D surface on the wall where on first appearance, is just like a film. However, when one inhabits a projection, the experience is much more surreal and is that of an immersive, 3D sensation. One experiences both film and reality simultaneously which offers an new path of exploration, one of combination. The concept collages (Figure 1 and 2) were originally focused on the idea of film and how it related to light and the concepts of materiality and subject and atmosphere. The concepts and discoveries from this ended up translating to projection, as well.

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Looking at Projection x Material and Subject, the idea is that the projection overpowers. The material becomes a canvas for the projection and light to shine upon, it’s initial qualities then fade away and become less recognizable. This allows for infinite potential (Figure 3) as one could take any surface or material and completely re-imagine it for new possibilities. Take the couch for example.

If one projected onto a couch, the original couch would serve solely as a shell, as a landscape for the projection to showcase. It wouldn’t matter the original color, texture, quality, etc. The new projected image would completely erase those preexisting conditions to create an entirely new couch. One could project a different couch onto the first couch to create a new but expected seat. Or one could completely defy what’s know as the concept of a couch to create something impossible and unknown. One could project lava or water or grass. Textures and phenomenons not associated with seating, therefore redefining the expectations. With projection, the possibilities become endless.

Projection also creates and allows for a type of atmosphere unknown and unattainable in other mediums. The relates back to how projection can work to create both film and reality. With film, one is limited to what can be conveyed through a screen. However, projection is pushed and actually benefits from the same limitations. With film, one is able to convey whatever is desired, matters that aren’t always achievable or feasible in reality. With projection, one can take what’s shown through that film to create an immersive environment for the person to now occupy. What was once restrained to a screen now becomes the very space itself, pushing the atmosphere further.

When other senses, such as smell, touch, and sound, are addressed as well, it’s able to transport the user to a completely different space entirely.

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Figure 3 Potential

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Figure 4 Figure-Ground

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Working with projection also allows for the manipulation of light in using concepts such as figure-ground (Figure 4) and topography (Figure 5). The two tools allow for a physical manipulation of the light that works beyond just transforming the image. These strategies allow for the projection to become more ground in the space as one works further to distort it, to achieve the desired result. It takes a step beyond a straight flat image to create something more. The figure-ground interrupts the image, whether it be a person or object. It blocks the light from reaching the wall, moving the image to various depths depending on where these disruptions occur. If one places a person a few feet away, in front of the projection, for example, the person will now showcase that image and displace it at a different spot. What’s left on the wall then is a black silhouette of the individual, this becoming a new part of the projected image. However, when one distorts with topography, the image all remains on the wall, but a different effect is created. The topography works to pull and push the image, both vertically and horizontally. One can create topological effects with objects such as people or furniture or even with changes in the architecture such as columns, windows, shelving, stairs, etc. This type of manipulation allows for the projection to become one more with the surface, rather than just being an image on a wall. With these ideas and strategies in mind, projection can work to become the space

Figure 5 Topography

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l it e r at u r e r e v i e w

Ugly Lies the Bone, Es Devlin 2017

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For this study, many different readings were reviewed, resulting in different ideas. As mentioned before, this research began with looking at film exclusively, then opening up to film and light, and then landing on the concept of projection and the projected interior. The readings read simply reflect that journey. The Architecture of the Gaze: Jeffries Apartment and Courtyard by Steven Jacobs was insightful as it looked at Alfred Hitchcock’s Rear Window (1954) and analyzed how it’s set and design was revolutionary. With set design in general, there comes the added purpose of helping convey a story. Whether that be a reflection of a character’s personality, a showcasing of previous events, or an accomplice to current events. Every detail placed within a set should be done for a reason and with the questions behind it: what is this conveying to viewer and how does this help push along the narrative? In theory, traditional interior design should have such intention behind every decision as well, if not more, as one is creating a space to last indefinitely to be viewed and questioned by many.

While a set is shown only for those few moments on screen. However, it seems intention and depth in traditional interior design can be lost behind aesthetics and status. Which isn’t always bad or ends up bad, but creating a space that’s main purpose is to drive something further and aid in a larger project such as film, music videos, stage productions, etc. can be interesting as the aesthetics become second in motivation behind speaking something more into the project, such as the narrative. This thought process can be utilized in developing an interior from projection as with projection, defining the programming and use of the space become the main challenge. One can look at defining narrative and defining program as similar, as they both aid the user and push along the greater idea and purpose for the space.

Looking at another article, Lights, Camera, Architecture!: Where Set Design and Architecture Cross Over by Dima Stouhi, it provides examples that challenge the notion that aesthetics need to come after narrative. It rather suggests that one drives the other to create a new type of atmosphere for the stage. With the use of technology and light, sets are able to be designed with different intentions, the mood being at the forefront. They’re able to convey and evoke types of emotions that wasn’t so easily done before. In the example of Ugly Lies the Bones, set designer Es Devlin used a basin-shaped map as the canvas for video projections as its set. The story follows an injured soldier undergoing virtual-reality therapy. She basically created a set that mimicked a virtual-reality experienced and changed the projection, image, and lighting throughout to match what was needed. The concept behind the set works perfectly with the narrative of the play, using the set to push along the story while not sacrificing aesthetics and atmosphere, providing an enriching experience overall.

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Pour Your Body Out, Pipilotti Rist 2008

Another article read was Performativity in 1960s American Experimental Cinema by Wheeler Winston Dixon. It looked at set and space in complete contrast with everything else so far. The films discussed in the article were small works that mainly focused on showcasing the body and its performative capabilities and ending it there. They were incredibly raw and artless as there was very little attention drawn to any external factors such as set or costume. It was solely focused in highlighting the body and so the “set” worked in the opposite way in traditional means, explicitly when compared to Rear Window. In Rear Window, the set and way of filming became as important as the plot and characters. Without the set, the movie would basically not exist. Whereas with these 1960’s films, the set could not be further removed and abandoned. In fact, it was not even mentioned once in discussing the films as it was so far from the focus. The filmmakers wanted to solely showcase the art of the performative body and so thinking about anything else could prove distracting. Both hyper and lack of attention to the set can prove purposeful and successful in both ways, it just depends on the narrative one is attempting to convey. This relates also to the study of projection as projection works similarly in that it treats the “set” as a blank canvas. Yet, it contrasts in that it hides anything raw or truly real. The projection works to create a mask and sheet over the space in order to create a new one altogether. The canvas and “blank forms” matter less than what one ends up projecting and creating in the end as that becomes the true and final space.

Kissing Architecture by Sylvia Lavin also took a look at projections and how it can work to create an interior. In her work, she discusses how the projection and other art and surface installations can work to “kiss” the architecture. It refrains from becoming one completely with it as they also remain separate entities. As said by Lavin, “what is important and potentially new is the fact that projected images and architecture converge without collapsing into one – that unlike fresco, one sees through a projected image to see the wall and that relation is direct rather than proximate.” This is something fairly unknown in the world of architecture as most concepts and constructs affect it directly. Whether that be, as she mentioned fresco, carving in the form, or something else entirely. Projection is different as it’s able to touch the architecture without actually changing it in any way.

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precedents

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James Turrell

Aten Reign, 2013

The Light Inside, 1999

Bridget’s Bardo, 2009

Orca, Blue-Red, 1968

James Turrell works with the medium of pure light in order redefine what’s known and conceived as an interior space. He attempts to engage with the views through his work in order to challenge the limits and wonder of human perception. Turrell claims, “My work has no object, no image and no focus.

With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought.” He works with the sensory form in order to create experiences unable to be experienced anywhere else, in any other capacity.

The work that Turrell does greatly relates to this study as the medium is here is primary light as well. There may (most likely) will be other objects and pieces included in the design, but the main focus is the light and image. How one perceives it? How one interacts with it? Turrell pushes the boundaries of what light can achieve and display, redefining the way light behaves with space and interior. This project attempts to push similar boundaries and experiment with similar concepts. It’s hoping to reimagine the way one communicates with light and space and how one can use light as space.

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Abelardo Morell Abelardo Morell utilizes projection through his photography and does much work using a camera obscura. He works to re-imagine sceneries by turning entire rooms into these camera obscuras, effectively merging interior and exterior spaces. His work provides a new context to what one defines an interior. The results end up looking surreal and impossible as it seems the landscapes and outdoors are attainable right there on each wall. According to Morell, “photography’s power is to make even dreams seem quite concrete.” His work seems quite dreamlike as it achieves what the brain perceives as impossible. Especially when combined with the landscapes projecting upside down due to the camera obscura, that becomes emphasized even more.

Morell’s work provides much information and insight for this project as his work closest resembles the path this is on: projecting image on interiors. His work is more photography centered where this project will end with user inhibition. Regardless, this work showcases many interesting cases of the way the projection and image is working with the interior and its architecture. The way it works with the shadows. How it blurs on certain walls. The erasure of the ceiling line. All concepts and questions to continue exploring.

Manhattan View looking South in Large Room, 1996

View of Central Park Looking North, 2010

Afternoon Light on the Pacific Ocean, 2009

Times Square in Hotel Room, 2010

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Olafur Eliasson

The Weather Project, 2003

Symbiotic Seeing, 2020

Hippolyte et Aricie, 2018

Your Uncertain Shadow (colour), 2010

Olafur Eliasson has much work with just light and projection but also utilizes other mediums as well. Overall, he works with sculptured and large-scale installation art, employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience. He likes to explore the relevance of art in the world at large, often making pieces revolving around climate change. He works with light often but will cast that light through other materials, capitalizing on the effects created. He’s projected through / with water, fog, glass, wire, etc.

He attempts to create other worldly affects, similar to Turrell and Morell, in that they would be unseen in standard reality. Projects such as The Weather Project even used light as a way to warn against climate change in that if nothing was done, the experience shows what the world would end up as. His work shows the light and projection working with and through other materials. This results in various types of effects, ones that would be interesting to pursue in this project as well.

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Doug Aitken

Interiors, 2002

I Only Have Eyes for You, 2020

New Era, 2018

Altered Earth, 2012

The work of Doug Aitken spans over many different types of mediums and platforms. He works with everything ranging from photography, print media, sculpture, and architectural interventions, to narrative films, sound, single and multi-channel video works, installations, and live performance. His work attempts to create a unique, immersive aesthetic, one characterized by a fascination with motion and velocity. It attempts to that demonstrate the nature and structure of our media-saturated cultural condition.

His work takes, project, and manipulates the human scale and traditional landscape. Taking the view to places such as space where the earth looks small or a standard room but the projected people are twice the anticipated size. Manipulating scale and composition could prove interesting techniques with a projected interior and could provide unexpected opportunities. Aiken also uses the material of mirrors and technique of reflection in manipulate the scale of interior. Projecting with mirrors allows the image to live on forever, the space doing the same thing.

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Daniel Canogar

Daniel Canogar works to conceptualize the concepts of memory and loss. He utilizes aged technology, piece that defined existence in the past, such as VHS tapes, 35 mm film, hard discs, CDs, and contrasts them by projecting video and animation. This is done in order to reignite life in otherwise obsolete objects. According to Canogar, “I like to break away from the confines of the flat screen and create three-dimensional installations that conceptualize media as the sculpture.” The media becomes the forefront of his works, whether that be subject, medium, concept, etc.

These ideas could prove interesting when looking at the projection itself. Work and design could be done to bring everything back to the source, back to that of the light of the projection. It’s beneficial to have reminders not to stray too far from its roots and to have it all relate back in cohesion. The projection is what drives the interior and for him, his installations, and so it’s critical not to forget that.

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FLUCTUATIONS, 2017

“Monsieur Goya”, 2019

Amalgama El Prado, 2019

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method

While standard projection will most likely be the main medium and method utilized in this project, there are other methods that could be explored and employed as well: 3D projection mapping and camera obscura. Both are subsidiaries of the concept of projection, but are just different and more specific techniques of achieving such results. 3D projection mapping allows for one to specifically map to landscape or topography, rather than the depth of such topography dictating the image. Instead they work together to create a specific image and sensation, one with more depth, possibly an optical illusion, or notions of movement onto previously static objects. 3D projection mapping works to create a more dynamic experience, one well received on film and in person. Camera obscura on the other hand, is, in a way, a natural projection. The camera obscura works with light and lens to take the image from typically an exterior scenery, to project it inside a darkened room. This technique, when done traditionally, is more limiting as the image naturally projects upside down. However, with more modern devices, more freedom is permitted. With this technique, one is able to easily fill an entire room with a desired image or projection. With a standard projector, this proves difficult as one needs to stand far away enough to get image large and sometimes there isn’t enough space. However with this technique, that problem doesn’t occur and instead one is left with an engulfing image that transforms the space.

As discussed before, Abelardo Morell is an expert in such field and provides much work to study. While it hasn’t been decided which specific route will be taken or which method or methods will be for sure utilized, it seems all mediums provide interesting opportunities and results worth exploring.

Regardless of which method is pursued, each one provides a similar relationship with the space. As shown in Figure 6, there is a clear relationship and transition between the properties of the Projector, the Body, the Skin / Surface, and the Light. The projector casts the light onto the subject that creates a form and shadow that becomes one with the projection, becoming one with the wall and surface. When using projection, all forms end up becoming one with one another, to create a large new form overall. Looking at the Chair Study, it’s clear how with certain projections, the line between 2D (light) and 3D (object) becomes completely blurred and two become one. Seeing it with the sheet (Images 1, 5, 6, 11) as well, showcases the form and use of the chair remaining same but at the same time, challenges it altogether.

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Figure 6 Projector –> Body –> Skin / Surface –> Light

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Chair Study

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m at e r i a l a n d s u r fa c e

Looking at how projection works with various materials and material types begins to showcase how versatile the medium is. Objects and materials with interesting qualities of their own such as glass, water, and mirror offer unique results when mixed with the light. The refractive nature of each material multiplied in ways both expected and unexpected. The study in Images 1 and 2 show the projector lens when mixed with a glass rimmed mirror (mirror shown in Images 7 and 8). The mirror was held up to the projector lens and ultimately split the image in half while creating two at the exact time. The image became displaced and also left a drop shadow between them. This created a new sense of depth and dimension that was unexpected. The way the image (or images) can possibly be layered on the wall itself allows for an opportunity of manipulation yet to be discovered in an alternative way. Another interesting find was in Images 5 and 6, looking at how the glass of the vase reacted differently when stood up versus on it’s side. The glass casted a standard shadow, one of an complex refraction, onto the wall when stood up straight. Expected. However, when on it’s side, the shadow became stretched and distorted, spanning across the rest of ground before touching the wall.

The comparison and contrast between the two opens a new conversation on how the same material can behave differently when given new opportunities, and what that can mean for a space.

The discussed studies were all conducted in a controlled light box with the projector standing roughly a foot away, unless being used to move around the box. The way the projector and simple objects and materials can completely alter and manipulate the landscape of a blank, white box offers many opportunity as to what it can do to and with an interior space. In the Material Study - User Collages, it is imagined how it would be like if a user were to begin occupying these spaces. They’re simple renditions showcasing simple uses, but just the action of sitting or lounging in water is redefined.

The same image is used and projected in each collage but due to the materials and objects at use, each image reads completely different. One (Image 1) is being projected normally but with wood which extrudes the warm tones from the image. The other (Image 2) is being projected through the water and glasses which liquefies the image and pulls out the cooler tones. Both are appropriate given the rest of collage and could help to provide insight and definition to the remaining space.

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Material Study

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Material Study - User Collages

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It was also studied how casting on different, unique surfaces can alter the original image. This was done through a series of studies, looking at different images such as: a basic chair, a simple room, a forest, and standard cityscape. Looking at these images and how they were able to completely transform based on the various surfaces projected upon. The ideas of topography, movement, transparency and shadow, and materiality were all considered when researching this.

Not only was the above continued on more complex surfaces, these surfaces were created for such exploration. Referred to as Armatures, structures were created to house and hold unique and created materials for study (Armature Study, AS). The two structures chosen for this project are constructed from wood, one (Armature 1) acting as a mobile series of frames for various materials to hang from and the other (Armature 2) being a U shaped construct that has one side that drops down, allowing for materials to drape and move along with it. The first Armature was studied with its initial materials of layered Mod Podge, constructed fabric, and manipulated rice paper, along with a white sheet to showcase shadow. The second Armature was just looked at the white sheet draped along the structure. Each were projected onto and all provided unique experiences when mixed with the projection. New effects of shadow were created with materials such as the Mod Podge and rice paper, the Mod Podge casting a snake skin like image (AS 1, Image 3) while the rice paper shadow looked more like a gem refraction (AS 1, Image 11). The fabric created new depth for the space that was being projected onto it. Especially showcased in Image 6 (AS 1), one can sense the floor retreating into the fabric, as if one can step and move into it. There’s a wave in the fabric that is translated very clearly in the image, as if the interior itself is wavy as well.

The second Armature Study also provided unique insights. This study focused more on topography and how that can be achieved but using a simple sheet. The draping of the fabric allowed for a dimension and ripple to be conveyed through the interior and has the image beginning to retreat at an angle (AS 2, Image 3). Looking at it next from a different perspective, using the armature while lying down, one experiences then images with a new sense of depth (AS 2, Images 4-6). Projectors work so that it can focus the image for a flat, singular surface. When adding depth like this, it begins to not only create a “stair” effect, but it begins to showcase different senses of clarity. The main image stays focused, but as it gets closer, it becomes blurrier, what could be considered opposite from the standard expectation.

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Surface Study

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Armature Study 1

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Armature Study 2

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user and site

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Figure 7

Concept Drawing

With a project like this, the programming could be anything. As could site. The opportunities are literally endless. This makes making decisions so difficult as it means solidifying a direction when every direction seems interesting and worth exploring. Figure 7 is a concept collage looking at the projection and how users may or may not interact with it. Do they view it like an art installation? Probably not.

Do they experience it at somewhere like a cafe or library? Possibly. Do they observe it and interact with it as it passes through another material or surface? Most likely. There are so many ways one could experience and interact with a projected interior that it’s difficult to narrow.

However, given certain feedback, it seems there are few options that would make more sense than others. It wouldn’t make sense for a projection to make up the design of a gym or a classroom.

However, it would make sense in a space used for a spa or even a retail experience. It would make sense in spaces where the user doesn’t have to do intense, visually inducing tasks but can rather breath and easily utilize the environment. A place where the projection serves as an advantage for the user and the program, rather than a hindrance. A space that seems compelling to pursue could be a therapy center.

A place that allows for rehabilitation and healing and how certain projected images could accompany the user in that journey. Then employing the other senses to further aid in that development as well.

Certain individuals could, however, prove sensitive to light and so creating an entire space comprised of it could prove a challenge. Working with the light and other materials to find the best ways to diffuse it while keeping its core principle and notary qualities will prove interesting and possibly set up the necessary parameters.

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Before any programs were considered, the idea was very daunting to being researching. However, by working with a matrix looking at types of spaces and specific architectural elements, some insight was able to be provided on where to start. And possibly where to go. The Program Matrix studied the programmatic spaces of Atrium, Closet, Library, Inglenook, and Dining on the architectural elements of Corridor / Door, Stair, Ceiling / Luminaire, Window, and Floor. These studies and images shed some light on how the projection could potentially begin driving the programming. How the stair could become the bookshelf. How the door could become the atrium. Projection on these surfaces opens the space up to a new depth and a new potential. The stairs become a space one can inhabit, the ceiling becomes the new doorway. This all works to alter the program, hopefully to ones advantage.

Site proves to be a similar challenge to program and is also still under development. With a project like this it’s easy to keep studying and keep researching while thinking of it as “site-less.”

It’s easy to kill the wonder and creativity by stepping on the brake too quickly. However, eventually decisions need to be made. Whether they’re final or arbitrary, only time will tell. But if one keeps avoiding decisions altogether, the project could just as easily become stuck. With thinking of the space in terms of a therapy center, this opens up greater insight at to what or where this site could be.

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Program Matrix Stair

Ceiling / Luminaire

Window

Floor

Dining

Inglenook

Library

Closet

Atrium

Corridor / Door

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bibliography Dixon, Wheeler Winston. “Performativity in 1960s American Experimental Cinema: The Body as Site of Ritual and Display.” Film Criticism, vol. 23, no. 1, Allegheny College, 1998, pp. 48–60, http://www. jstor.org/stable/44018930.

Gibson, Eleanor. “ES Devlin Creates Bowl-Shaped Set as Backdrop for Virtual Reality-Themed Play.”

Dezeen, 7 Mar. 2017, https://www.dezeen.com/2017/03/07/es-devlin-map-backdrop-set-design- ugly-lies-the-bone-play-virtual-reality-london-national-theatre/.

“Introduction.” James Turrell, https://jamesturrell.com/about/introduction/.

Lavin, Sylvia. Kissing Architecture. Princeton University Press, 2011.

Pallasmaa, Juhani. “Dwelling in Light – Tactile, Emotive and Life-Enhancing Light.” VELUX, 2016, http:// www.velux.com/article/2016/dwelling-in-light.

Stouhi, Dima. “Lights, Camera, Architecture!: Where Set Design and Architecture Crossover.” ArchDaily, ArchDaily, 1 Feb. 2019, https://www.archdaily.com/910113/lights-camera-architecture-where-setdesign-and-architecture-cross-over.

Studio Daniel Canogar, http://www.danielcanogar.com/statement.

Tanizaki, Jun’ichiro. In Praise of Shadows. Leete’s Island, 1977.

Weinthal, Lois, and Steven Jacobs. “Architecture of the Gaze: Jefferies Apartment & Courtyard.”

Toward a New Interior: An Anthology of Interior Design Theory, Princeton Architectural Press, New York, NY, 2011, pp. 546–558.

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